Sašo Dimoski very interestingly demonstrates and stresses the potentials of contemporary photography in his project entitled “Sunrise at Sunset – Post-apocalyptic Stench of the Transition”. The project, which is a result of a careful observation of the social reality and detailed pre-photographic conceptualization stresses the critical potentials of photography within a modern artistic installation constructed from the inter-relation of a number of elements.

Focusing on a facility, Izgrev hotel and its exceptionally intriguing history displayed in three significant time coordinates (the celebration at its opening in 1979, attempts to promote it and revitalize it in mid 199es and the current destruction in 2012), he uses this grandiose facility as a metonymy for the decadent phase of a system in which it was built, in order to stress its negative values, those that are far from being lost, but rather remained, rooted in and are being upgraded. The lost sense of time, the absence of self-criticism and facing the reality, the overdimensioned expectations for the future, the inclination to build illusions that we will be forced to believe in seem from the current distance as a triple heritage of a decaying system, a phantom which we keep alive.

Setting the artefacts related to the building but also coming from different pints in time in a correlation, recontextualized in a conditioned synchronicity, Dimoski opens the possibility to rethink the destiny of our humanity in a constant chaotic, unplanned and pointless transition, stuck in wandering and looking for the appropriate social format.

What is additionally stressed via Dimoski’s project is that the visual, apparent, facade side of reality is not only insufficient for its critical observation, but it is rather seriously problematic: it is Izgrev hotel that is a solid example of the purified socialist modernism in architecture, in the broader context, it has unfortunately become a typical representation of the decadent “Rococo” phase of the social system.

The precisely selected title “Sunrise at Sunset”, which is basically oxymoronic, as well as the retro reframing of the current post-apocalyptic melancholy present in the black and white photographs as opposed to the colored enthusiasm of the past are part of the interventions that round the excellent conceptualization of the whole.